Son of Man

‘Son of Man’ updates the story of Jesus to modern South Africa, recalling the same opera company’s Xsosa language version of Bizet’s ‘Carmen’. Pasolini’s ‘Gospel’ leaps to mind: a vivid style combining the stark and the lyrical, a devoutness fierce not sentimental, a landscape whose weary, sun-baked timelessness makes it into a character in the drama… and above all, the faces.

Modern parallels are implied – war-torn Judea is taken over by ‘coalition forces’ – but details are irrelevant. Jesus (Andile Kosi) is a political figure, videoed by a spying Judas, making his mixed bag of disciples give up their guns, tempted by a black leather-clad Satan (Andries Mbali). Hypnotic visuals, eloquent – but never over-used – music and gritty performances make this a riveting, moving experience.